Stone Sentinels and Industrial Dreams: A Winter Walk at All Saints Church, Salterhebble

Discovering Victorian Gothic grandeur and the final resting place of a confectionery legend on the hillsides of Halifax.

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The Spire Over the Valley

If you drive along the valley bottom south of Halifax, your eye is inevitably drawn upwards to a needle-sharp stone spire piercing the skyline. It belongs to All Saints Church in Salterhebble, a building that has stood sentinel over this industrial landscape since the mid-19th century.

To walk through its churchyard today, especially amid the rust-coloured bracken and bare trees of winter, is to step back into a time when Halifax was a powerhouse of the Victorian textile industry. It is a place of immense atmosphere, where the roar of modern traffic fades away, replaced by a quiet solemnity and architectural beauty.

The imposing spire of All Saints, framed by winter branches against a crisp blue sky. This vertical composition perfectly captures the church's dominance over the landscape.

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Architects of the Textile Boom

All Saints Church was consecrated in 1858. It was born out of necessity; the industrial revolution had swelled the local population, and the existing chapels could no longer cope.

The church was designed by the architectural partnership of Mallinson & Healey. If you look closely at churches across West Yorkshire, you will frequently find their names. They were the go-to architects for the region's booming mill towns, masters of the "Gothic Revival" style. They didn't just build functional spaces; they built statements of civic and religious pride, designed to emulate the soaring spirituality of medieval cathedrals, constructed from durable local stone.

The church is large, dignified, and solid—a perfect reflection of the confident era in which it was built.

The imposing spire of All Saints, framed by winter branches against a crisp blue sky. This vertical composition perfectly captures the church's dominance over the landscape.

Presented in sepia, the textures of the local stone construction and the rhythmic pattern of the lancet windows are brought to the fore.

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Victorian Views on Death and Status

TheVictorians did not hide away from death; they celebrated it with elaborate rituals and grand monuments. A person’s status in life was often reflected by the size of their memorial in death. All Saints churchyard is a fascinating necropolis, filled with the graves of mill owners, merchants, and the professionals who kept the town running.

While many stones are now leaning, reclaimed by ivy and tall grass, others remain starkly impressive. The grounds feature several significant "chest tombs" and mausoleums—above-ground burial chambers designed for wealthy families who wanted to ensure their legacy was visible long after they were gone.

Victorian funerary grandeur. This large, ornate chest tomb, featuring intricate carvings and cusped arches, indicates a family of significant wealth and local standing.

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A Sweet Slice of History: The Mackintosh Grave

Among the hundreds of weathered stones, there is one that holds a particular fascination for anyone interested in Halifax's commercial history—and anyone with a sweet tooth.

Tucked away in the churchyard is the family grave of John Mackintosh (1868–1920).

Known internationally as "The Toffee King," Mackintosh began his confectionery empire right here in Halifax. Starting with a small pastry shop, his unique blend of brittle English toffee and soft American caramel revolutionized the sweets industry. His company would eventually give the world beloved brands like Quality Street, Rolo, and Toffee Crisp. Standing before his modest but dignified memorial is a direct connection to a global business empire born in this very parish.

The final resting place of the "Toffee King." The inscription for John Mackintosh, J.P. (Justice of the Peace), is clearly visible in this black and white photograph.

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Atmosphere and Shadow

There is a distinct mood to All Saints that changes with the light. On a bright day, the warm Yorkshire stone glows against the blue sky. But when the clouds roll in, or when viewed through the lens of black and white photography, the church takes on a brooding, gothic atmosphere.

The interplay of shadow against the heavy masonry creates a sense of drama, highlighting the intricate carvings and the sheer weight of the history contained within these walls and grounds.

High drama and deep shadows. This monochrome shot captures a large mausoleum nestled against the church walls, emphasizing the gothic atmosphere of the site.

Visiting All Saints

All Saints, Salterhebble, remains a functioning place of worship and a vital part of the local community. When visiting the churchyard to explore its history and architecture, visitors are encouraged to remain respectful of the site as an active burial ground and a place of quiet reflection.

It is a location that rewards a slow walk and a keen eye, offering a profound connection to the generations that built the Halifax we know today.

I took these pictures on the 24th November 2023 with a Nikon d3300, clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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Discovering the Beauty of Bradford Cathedral (Exterior Exploration)

On a crisp December day (December 10th, 2022, to be precise!), I took my Nikon D3300 out to explore a true architectural gem in the heart of Bradford: Bradford Cathedral. While I focused my lens solely on the exterior – understanding that interior photography often requires special permission – the building itself offered an abundance of captivating details and a sense of timeless grandeur.

My journey began with the approach to the cathedral, and what an interesting entrance it is! The area around it feels steeped in history, with some beautifully intricate stonework.

Walking closer, I was drawn to the unique arched passageway leading up towards the main structure. It almost felt like stepping back in time, with the impressive stone staircase hinting at stories from centuries past. The ornate lantern hanging overhead added a touch of old-world charm.

Just beyond this entrance, nestled within an archway, I was pleasantly surprised to discover a beautifully arranged nativity scene. It was a lovely, festive touch, and the colourful figures against the ancient stone made for a striking contrast, especially with the subtle dappled lighting.

Continuing my ascent, another set of steps, complete with a distinctive blue handrail, guided me further up the grounds. The architecture here is a fantastic blend of robust stone and delicate decorative elements.

As I reached the higher ground, I was able to appreciate the full scale of the cathedral's impressive structure. Surrounded by a mix of evergreen and bare winter trees, the sheer size and intricate details of the building truly stand out. It’s remarkable how well it blends into the urban landscape while simultaneously commanding attention.

One of the most striking features, of course, is the towering clock tower. The beautiful blue clock face with its golden hands against the grey sky was particularly captivating. You can really get a sense of the craftsmanship that went into its construction, with every arch and buttress telling a story.

Taking a moment to wander around the perimeter, I noticed the peaceful pathways and scattered autumn leaves that still clung to the ground. Even in winter, there's a quiet beauty to the cathedral grounds.

Another charming entrance caught my eye, with its inviting open door and the warmth of the stonework. The lush bushes and smaller trees around it add a touch of softness to the grand architecture.

Finally, a wider shot encompassing the full glory of the cathedral from a slightly different angle. The intricate rooflines, the impressive tower, and the surrounding greenery all come together to create a truly magnificent sight. It makes you wonder about all the history and lives that have passed through its doors.

Even without venturing inside, Bradford Cathedral offers a profound sense of history and architectural splendor. It's a testament to enduring craftsmanship and a peaceful haven in the bustling city. If you find yourself in Bradford, I highly recommend taking some time to walk around its impressive exterior – you won't be disappointed!

A Glimpse into the Past

While the building is a stunning sight today, the site itself has been a place of Christian worship for nearly 1,400 years, dating back to Saxon times. The core of the present church, originally known as St. Peter's Parish Church, was largely rebuilt in the 15th century after an earlier stone church was burned down by Scottish raiders around 1327. The beautiful Perpendicular Gothic tower you can see today was added later, finished in 1508. The church was elevated to cathedral status in 1919 when the Diocese of Bradford was created, and subsequent extensions by architect Sir Edward Maufe in the mid-22th century gave the building its current, comprehensive form.

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The Salvage Archive: A 35mm Slide Journey Through Lost Lincolnshire Railways

I recently embarked on a fascinating journey through my personal collection of 35mm slides—a physical archive of railway history amassed over years. These tangible memories, often faded but always evocative, capture the rail network as it was, before digital dominance and modern rolling stock reshaped the landscape.

The four images I'm sharing today are particularly special, yet frustratingly vague. All that I know for certain is that they were captured somewhere in Lincolnshire. No dates, no specific locations, just stunning views of trains passing through the county's varied countryside and urban fringes.

Join me as we delve into these photographic mysteries, examining the rolling stock and scenery to try and piece together a story of a bygone era.

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The Trains of the Mystery Slides

The real clues to the era and atmosphere of these photographs lie with the trains themselves. By identifying the types and liveries, we can narrow down the potential time frame of these 'lost' railway scenes.

1. The Provincial Trio: Class 158 Express Sprinters

Three of the four slides feature the same type of train: a British Rail Class 158 Express Sprinter Diesel Multiple Unit (DMU).

Lincolnshire 1

Lincolnshire 2

These show a long-distance version of the Class 158 in what is likely the East Midlands Trains (EMT) or possibly Central Trains livery. This striking blue, gold, and white scheme was common across the mid-2000s and into the 2010s. The long train formations suggest a busy, inter-urban route, perhaps linking a major city like Lincoln or Grimsby with the Midlands or even London.

Lincolnshire 3

This unit, visible from the front with the identifying number 158 A07, appears to be in an earlier livery, often associated with the early days of privatisation (mid-to-late 1990s) or the later regional liveries like Central Trains or even a Regional Railways hybrid.

The Class 158s are the workhorses of regional express services. Their presence suggests we are looking at a line designed for relatively high-speed travel, passing through sweeping fields and open countryside, which is quintessential Lincolnshire.

2. The Iconic 'Pacer': A True Piece of Railway Heritage

The final slide, "Train Hull Bound Pacer," captures a piece of railway history that is now almost entirely gone from the mainline: the British Rail Class 144 Pacer.

Pacer 1

The 'Pacer' units (Classes 141-144) were designed as low-cost, short-term rolling stock in the 1980s, famously built using bus bodies mounted on freight bogies. This particular unit, identified as 144 009, is in the distinctive Northern Spirit or Northern Rail red and cream livery—a colour scheme that firmly places this photo in the late 1990s or early-to-mid 2000s.

The destination board clearly reads 'HULL'. Given that the photo was taken in the Lincolnshire area, this Pacer could be on a number of local routes, such as the line north from Doncaster, or perhaps running an intermittent service on the Grimsby/Cleethorpes to Hull route, having crossed the Humber.

This Pacer photo is a brilliant capture of a train that has since been retired, marking a pivotal moment in the UK's railway evolution.

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The Scenery: Where in Lincolnshire?

Lincolnshire is a county of incredible contrasts, and these photos reflect that perfectly. While we lack specific geographical markers, we can make some educated guesses about the kind of lines they depict.

The Inter-Urban Stretch

In the Pacer and one of the 158 photos, we see lines with multiple tracks (at least two pairs or a double-track and loops).

• Clue: The background of the Pacer image shows a prominent, solid-looking stone building and a distinct junction, suggesting a location near a former industrial area or a reasonably large town/city. The hilly backdrop is less common in the flatter central and eastern parts of the county, perhaps hinting at a line further west or north, closer to the Yorkshire border.

• Hypothesis: Could this be near Gainsborough Lea Road or a major junction on the line leading toward Doncaster or the Pennines?

The Rural Idyll

The other two Class 158 photos are textbook representations of the English countryside: rolling green hills, meticulously farmed fields, and isolated lineside cottages and signal boxes.

• Clue: The line appears to be single or double track, cutting through deep green foliage and a high horizon, suggesting an area well away from major settlements. The vibrant blue sky and rich green fields point to a beautiful summer's day.

• Hypothesis: This feels like the scenic route between Grimsby and Lincoln (The Wolds Line) or perhaps part of the East Coast Main Line (ECML) which technically skirts the western edge of Lincolnshire. The quiet, idyllic setting strongly suggests a secondary or rural main line. The lone, charming signalman's hut in "Train Lincolnshire 2" is a beautiful, classic railway feature now rarely seen.

The Cuttings and Signals

"Train Lincolnshire 3" shows the train entering or leaving a cutting, with prominent railway infrastructure:

• Clue: A footbridge, an overhead road bridge, and a tall, traditional four-aspect colour light signal post. This concentration of features suggests proximity to a major station, a junction, or a key civil engineering point on the line. The bare trees and muted colours suggest a late winter or early spring setting.

• Hypothesis: This could be a commuter belt area, perhaps approaching Newark, or a busy junction closer to Lincoln. The overhead bridges are classic features of lines being modernised for higher speed or capacity.

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The Magic of Analogue Film

Beyond the facts, what these slides really capture is a feeling. The rich colour saturation, the deep contrast between the blue sky and the yellow/red of the trains, and the distinct grain are all hallmarks of 35mm slide film (likely a colour reversal film like Kodak Ektachrome or Fujichrome).

These images are more than just records; they are windows into a specific period of railway history, preserved with the unique aesthetic of analogue photography. They challenge us to become railway detectives, using our knowledge of rolling stock and geography to solve the mystery of their origin.

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Ending the Year on a High: A New Year’s Eve Trek to Stoodley Pike

Date: December 31, 2016 Location: Todmorden, West Yorkshire Camera: Nikon D3300

There are few better ways to say goodbye to an old year than by climbing above the noise of daily life and standing on top of the world—or at least, on top of the Calder Valley.

On New Year's Eve, 2016, I took my Nikon D3300 up the muddy tracks to one of West Yorkshire’s most iconic landmarks: Stoodley Pike Monument. The air was biting, the light was fading into a winter gloaming, and the moors were silent.

Join me on a walk to the "Sentinel of the Valley."

The Ascent

The climb up to Stoodley Pike is never a casual stroll, especially in the depths of winter. The Pennine Way crosses here, and the path is well-trodden by centuries of boots. As I made my way up, the winter light began to shift, turning the rough moorland grass into a sea of rusted gold.

The approach. The muddy tracks leading the eye straight to the obelisk, standing solitary against the grey winter sky.

There is a stark beauty to the moors in December. The Nikon D3300 did a fantastic job capturing the texture of the dry grasses and the heavy, cloud-laden sky. It felt like the weather was holding its breath, waiting for the year to turn.

A View of Todmorden

As you gain elevation, the town of Todmorden falls away beneath you. One of my favourite shots from the day was looking back down into the valley..

The view from the heights. You can just see the streetlights and house lights flickering on in Todmorden, warm specs of amber against the cooling blue of the hills.

This image captures the isolation of the Pike. Down there, people were likely preparing for New Year's Eve parties, warming their homes. Up here, it was just the wind and the sheep.

The Peace Monument

Standing at 121 feet (37 meters) tall, Stoodley Pike Monument is imposing up close. Interestingly, the structure we see today is actually the second monument on this site. The first, built in 1814 to commemorate the defeat of Napoleon, collapsed in 1854 after a lightning strike and decades of weathering. The current structure was completed in 1856, built to mark the end of the Crimean War.

The monument framed by the rugged gritstone boulders that litter the summit.

Standing tall. The darkening stonework contrasts sharply with the pale winter sky, emphasizing the monument's brooding presence.

It is a structure born of war, yet built for peace, standing guard over the valley for over 160 years.

Into the Darkness

Unlike many follies and monuments that are sealed off, Stoodley Pike invites you in. The entrance is a small, dark opening at the base that leads to a spiral staircase. There are no windows on the way up—it is a pitch-black ascent (a torch or phone light is highly recommended!) that eventually opens up onto a balcony.

The heavy stone base and the entrance. The massive blocks of stone give you a sense of the engineering required to keep this standing against the fierce Pennine winds.

The Balcony View

Stepping out onto the balcony is a visceral experience. The wind usually hits you with renewed force, but the view is worth it. You are standing some 1,300 feet above sea level.

Looking out from the balcony. The weathered stone railing, carved with the initials of visitors from decades past, overlooks the vast expanse of the moorland plateau.

Final Reflections

As the light finally gave way, I captured a silhouette of the monument. It felt like a fitting end to the photo walk—a strong, enduring shape against the fading light of 2016.

The silhouette of the Pike. A simple, powerful geometry against the morning sky.

Visiting Stoodley Pike is a reminder of the permanence of the landscape compared to the fleeting nature of our years. If you find yourself in West Yorkshire, pack your boots and your camera. The hike is steep, but the perspective it offers is unmatched.

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Chasing Winter Light: A Sunday Stroll in Sowerby Bridge

 Date: December 1, 2019 Location: Sowerby Bridge, West Yorkshire Gear: Nikon D3300

There is something uniquely crisp about the first day of December. It marks the meteorological start of winter, where the light sits lower in the sky, the shadows stretch longer, and the air bites just enough to make you walk a little faster.

Back in 2019, I took my Nikon D3300 out for a Sunday wander through Sowerby Bridge. This corner of the Calder Valley is a photographer's playground, offering a perfect triad of subjects: the industrial stillness of the Rochdale Canal, the raw power of the River Calder, and the skeletal beauty of Dixon Scar Woods.

Join me on a walk through the frost and the history of West Yorkshire.

The Glassy Stillness of the Cut

The walk began on the towpath of the Rochdale Canal. One of the joys of canal photography in winter is the lack of boat traffic, which turns the water into a near-perfect mirror. The greenery of summer has faded, revealing the structural "bones" of the landscape—the stone walls and the bare branches.

The long view along the Rochdale Canal. The blue sky reflects perfectly in the water, creating a peaceful, leading line through the valley.

Moving closer to the town centre, the relationship between the waterway and the industrial heritage becomes clearer. Sowerby Bridge was built on wool and engineering, and the old mills still tower over the water.

Where industry meets leisure. A boat sits quietly moored beneath the towering stone walls of the converted mills.

Crossing the Canal

Crossing over the Rochdale Canal, I headed toward the River Calder. Unlike the man-made tranquillity of the canal, the river is untamed and energetic. To get there, you often have to traverse the old infrastructure that stitches this town together.

I’ve always had a soft spot for the "Co-Op Bridge." It isn’t pretty in the conventional sense—it’s rusted, covered in graffiti, and utilitarian—but it has character. It frames the transition from the urban streets to the wilder woods perfectly.

The texture of the city. The rusted iron lattice and stone steps of the Co-Op Bridge provide a gritty contrast to the nature that surrounds it.

The Roar of Hollins Mill

Just downstream, the sound of water dominates the air. The weir at Hollins Mill is a reminder of the power that once drove the industry here. Even on a calm day, the water rushes over the stone steps with impressive force.

A wide view of Hollins Mill Weir. You can see how the houses cling to the hillside, overlooking the tumbling water.

I spent some time here playing with the shutter speed on the Nikon D3300 to capture the movement of the water crashing over the historic stonework.

The power of the Calder. The intricate stonework of the weir breaks the water into white foam as it heads downstream.

Into Dixon Scar Woods

Crossing the river leads you into Dixon Scar Woods. This area feels ancient, especially in winter. The leaves had mostly fallen, carpeting the floor in varying shades of brown and gold, allowing the low winter sun to pierce through the canopy in spectacular fashion.

Looking back at the river from the edge of the woods. The mossy trees dip their branches into the cold, blue water.

The highlight of the walk, however, was the light in the clearing. The sun was positioned just behind the tree line on the ridge, creating a stunning "starburst" effect that illuminated the frosty mist clinging to the meadow. It was one of those moments you have to be quick to capture before the clouds shift.

The golden hour strikes at midday. A perfect sunburst through the trees illuminates the frosty grass and a dog enjoying a morning run.

The quiet meadow. The frost lingers in the shadows of the valley floor, creating a cool, textured foreground against the wooded hill.

Final Thoughts

Looking back at these photos from 2019, I'm reminded that you don't need to travel far to find beautiful landscapes. Sowerby Bridge offers a density of photographic opportunities—from gritty industrial textures to ethereal woodland light—all within a mile's walk.

If you ever find yourself in West Yorkshire on a crisp winter day, take a walk down the cut and into the woods. Just don't forget your camera.

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The Salvage Archive: A September Afternoon at Fountains Abbey, 1975

There is a unique magic to holding a 35mm slide up to the light. It’s a tiny, suspended square of time—a moment captured in silver halides that hasn't been seen, perhaps, for decades.

As a collector of vintage photography, I often stumble upon these little windows into the past. Recently, I acquired a small set labelled simply: "Fountains Abbey, September 1975."

Today, Fountains Abbey in North Yorkshire is a slick, well-oiled machine of heritage tourism. It is a UNESCO World Heritage site, managed by the National Trust and English Heritage. But what did it look like half a century ago, before the visitor centres and the designated World Heritage status?

Let’s load the carousel and take a trip back to the autumn of 1975.

The Gothic Giants

The first slide captures the sheer scale of the Cistercian engineering. This view, likely of the Chapel of the Nine Altars, shows the towering lancet windows reaching up to a sky that looks distinctly 1970s blue.

What strikes me most about this image is the light. Slide film from this era had a specific way of rendering contrast—deep, crushing shadows and vibrant, almost painterly greens.

Historically, 1975 is an interesting year for the Abbey. While the State had purchased the Abbey ruins in 1966, the surrounding Studley Royal estate wasn't acquired by the National Trust until 1983. In 1975, this site was managed by the Department of the Environment. You get a sense here of a site that is maintained, yet quiet. There are no crowds in the frame, just the silent, hulking skeletons of the monastic past.

A Wilder Ruin

This second slide offers a fascinating detail that you might not see today. Look closely at the top of the jagged masonry. You can see tufts of grass and vegetation clinging to the high stones.

In modern conservation, this is often known as "soft capping," but back in the 70s, ruins were often allowed to be a little more "romantic" and wild. Today, stonemasons and conservationists work tirelessly to keep invasive roots out of the mortar to prevent the structure from toppling.

This image captures the texture of the dissolution. When Henry VIII ordered the dissolution of the monasteries in the 1530s, the lead was stripped from the roofs and the stone was quarried for other buildings. What we see here is the slow, centuries-long battle between the stone and the reclaiming nature of the Skell Valley.

Framing the Past

The unknown photographer who took these slides in 1975 had a keen eye for composition. This is my favourite of the set. By using the dark, heavy masonry of a doorway in the foreground, they have framed the sunlit tower in the distance perfectly.

It creates a sense of depth and mystery. It reminds us that Fountains Abbey isn't just one building, but a sprawling complex of dormitories, refectories, and cellariums.

The 1975 Context

When these photos were taken in September 1975:

• Pink Floyd had just released Wish You Were Here.

• The UK was experiencing a warm end to the summer.

• Fountains Abbey was still 11 years away from becoming a UNESCO World Heritage site.

Viewing these places through the medium of 35mm slides adds a layer of nostalgia that digital photography simply cannot replicate. There is a grain, a texture, and a colour palette that roots these images firmly in their time.

These slides might have sat in a box in someone’s attic for forty years, but projected here on the screen, the sun shines on the Yorkshire stone just as brightly as it did on that September afternoon.

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